It was December 20, 1577. A devastating fire destroyed the Hall of the Great Council in the Doge’s Palace. A deep rupture in the artistic and political history of La Serenissima. More than just a patrimonial tragedy, the event triggered a renewal process that, through the reconstruction of the Hall, resulted in a real rebirth — an opportunity to redefine the image of ducal power and celebrate the glory of Venice.

The reconstruction of the Hall brought together some of the brightest minds of the time. Rather than reproducing the preexisting environment, the project aimed to reinterpret the space in a modern key, combining functional needs with an ambitious desire for representation.

Stripped by the flames of its original decoration — a cycle of frescoes created in the 14th century by Guariento di Arpo and later enriched by works by Gentile da Fabriano and Pisanello — the Hall was transformed into a lab of ideas, an open workshop embracing the most innovative artistic trends of late 16th-century Venice. Masters such as Paolo Veronese, Jacopo Tintoretto, Palma il Giovane, and Francesco Bassano took on a titanic undertaking: to breathe new life into the Hall’s walls by weaving a complex iconographic program celebrating the history, myth, and power of Venice. 

Here, Paolo Veronese’s The Apotheosis of Venice (c. 1582) stands out as a work of extraordinary communicative power. Set on the ceiling at the center of the Hall, the painting takes the form of a grand allegory. Venice, enthroned and crowned by Victory, receives homage from the deities of Olympus and personifications of civic virtues. Through masterful perspective and a rich, vibrant palette, Veronese creates an image of triumphant splendor—an apotheosis of La Serenissima, celebrating its greatness, prosperity, and justice.

Equally imposing, though different in conception, is Tintoretto’s Paradise (1588-1592), a monumental work that spans 700 square meters, covering the entire back wall of the Hall. It represents an unprecedented iconographic originality. Leaving behind the traditional symmetrical and hierarchical arrangement, Tintoretto offers a dynamic and tumultuous vision—an ascending vortex of angelic and saintly figures culminating in the glorious presence of Christ and the Virgin. Beyond its undeniable religious significance, the work takes on a deep political meaning, serving as an allegory of Good Governance. The divine light radiating from the center of the composition symbolizes wisdom and justice guiding the decisions of the Doge and the Great Council.

However, the Hall of the Great Council is not defined solely by the works of Veronese and Tintoretto. It represents an extraordinary art gallery, a collection of late 16th-century Venetian painting. Artists such as Jacopo Palma il Giovane, Francesco Bassano, Andrea Vicentino, and many others offer their interpretation of Venice’s history, intertwining historical events with celebratory and propaganda intentions.

Venice is portrayed as a guardian of faith and freedom, moral and political leader in the complex Italian and European scenario.

The rebirth of the Hall of the Great Council from its ashes is a testament to Venice’s strength and vitality, its ability to transform tragedy into triumph. This renewal offered a reimagined and even more magnificent vision of its power and splendor.

Through the expressive power of painting, the Hall celebrates the myth of Venice — its history, its governance, and its role as a protagonist on the international stage.

Opening image: Antonio Diziani, The Great Council Chamber, Doge's Palace, 1758-1763, Gemäldegalerie, Berlin